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“Ralph Breaks the Internet” Full Review

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It’s cute and entertaining. The highly anticipated sequel to the Oscar-nominated Wreck It Ralph hits theatres everywhere today. Much like the first film, this sequel relies heavily upon nostalgia and familiarity with pop culture more than it it does a strong narrative. All too often, it’s more concerned with making you laugh than it is delivering a meaningful narrative. However, no mistaking it, you’ll have a fun time watching this film. And sometimes an entertaining story for the whole family is all that is needed to accompany your holidays. Ralph Breaks the Internet took what the Emoji Movie attempted to do, but failed, and delivered a heartwarming story that comments on our usage of and fascination with the internet. Return to the brightly colorful animated world of Ralph and Vanellope for a highspeed adventure that takes them from the 8bit world of 80s video games to the immersive world of a visualized, stylized internet. If it’s gone viral on the internet, then you’ll likely find it in this movie. What we see in terms of abstracts or constructs, this film creatively translates that which only exists in 0s and 1s into something far more tangible. For all that Ralph Breaks the Internet did right, and that constitutes a lot aesthetically, it appears as though the writers were far more concerned with cramming every bit of Disney, pop culture, and digital media into the movie than developing a compelling narrative. And that was the part that I found obnoxious, the amount of time we spent on the Disney brands. It became self-serving instead of plot-serving. That being said, this uplifting movie accomplished what other animated films attempted, making what users do on the internet interesting. Must in the same way that Searching brilliantly captured screen-life, Ralph delivers a sensory explosion of what a visualization of the internet may look like. But who would’ve known that we were all POP Vinyls???

Vanellope is bored with her game Sugar Rush. In order to change the tracks up and give Vanellope a new experience to revive her love of her game, he builds a new track! Unfortunately, this means that Vanellope ostensibly takes control of the game’s steering wheel causing the user to break it off when trying to correct Vanellope’s car. When the arcade owner is unable to find a replacement steering wheel on eBay within his budget, he decides to shutter the game. Unbeknownst to him, he forcibly displaces the citizens of Sugar Rush. With no home to return to, the citizens of Sugar Rush are relocated to other games and the racers are adopted by Felix and Sgt. Calhoun. Ralph and Vanellope are determined to replace the steering wheel by exploring the unknown world of the internet where eBay is located. Upon arrival, it is clear that both of them are way in over their heads. They must rely upon intuition, wit, and the citizens of the internet to help them on their quest to make enough money to buy the steering wheel. Their journey soon leads them to Yesss, the head of the algorithm of BuzzTube, the most popular video sharing site, to guide them through turning likes into cash.

Central to this film are the (1) theme of friendship (2) one’s identity with home or work and (3) commentary on one’s insecurities. A nice trifecta of themes and concepts upon which to build the plot. But there is something missing. Something that is a fundamental to any screenplay. And that is clearly defined opposition to the goal represented or manifested by a character. In other words, there lacks a “villain” in this story. The villain in this story is the friendship shared by Ralph and Vanellope. Suffice it to say, it is not a requirement to have a physical villain (or more precisely, a character of opposition), but when abstracts, constructs, or concepts are the villain, it is advisable to select a character from the story to represent the true enemy. Take Jaws for example. The villain is NOT the shark; it is the folly of man. And in order to visualize this opposition, the screenplay uses the character of the mayor to personify it. Looking at Ralph Breaks the Internet, we go nearly the entire movie before we have a true character of opposition. A central character(s) is only as interesting as the character of opposition. Sometimes, the character of opposition is even more interesting than the central character.

There is also very little struggle experienced by Ralph and Vanellope. Vanellope nearly out races Shank of Slaughter Race the first time and Ralph’s first video and all his subsequent videos go viral. Not having a well-denied villain paves the way for Mary Sue characters. Just good at everything. This ease of success takes away from the ability to empathize with the struggle. That being said, after Ralph and Vanellope have their falling out over Ralph’s obsession with what he feels is best for Vanellope, their friendship is called into question and forced to face the fact that their friendship is evolving. And fighting with friends is something with which we can all identify. When Ralph’s insecurities manifest themselves in the form of a virus that takes over the internet, the movie finally has a villain that we can see, hear, and experience. The lack of a villain in this story affects the ability for the story to be as compelling or interesting as it could have been. One of the dangers of not having a villain in a story such as this one is the risk of disjoined subplots. Without a villain, the central characters have to work exponentially harder to get the audience interested in them. As it is, the audience is far more likely to find the internet setting, product placement, and mentions more interesting than our two central characters. The takeaway: make sure your screenplay has a CHARACTER of opposition.

But Ralph Breaks the Internet is not without well-developed characters. More specifically, a well-developed character in Ralph. Two of the film’s themes are manifested in Ralph. The themes of personal/interpersonal insecurities and evolution of friendship are witnessed in the actions of Ralph and Vanellope, but Ralph in particular. Audiences of all ages easily identify with him because they can observe traits, characteristics, and idiosyncrasies that have likely been experienced by each and every member of the audience at one time or another. How many among us do not depend on some sort of external validation in order for us to feel confident in what we do, what we wear, or where we go. We empathize with Ralph when his demonstrably gentle, generous soul gives way to self-destructive behaviors that form a wedge in the friendship between him and Vanellope. And that leads us into the third main theme of this film, and that is the theme of the evolution of friendship. There is no questioning the strength and loyalty of the six-year-long friendship between Ralph and Vanellope. There have been many movies that comment on the state of or evolution of our best friendships, but none quite so creative as this one. However the plot may be lacking in its ability to be truly compelling, the mountains and valleys of the central friendship are ones that many of us can identify with. It’s also a great opportunity to teach kids how their lives may go in different directions from their friends but that doesn’t mean that the friendship has to die or become burdensome. Children (and all of us, really) learn that sometimes when you love someone so much that you have to let them go to pursue their own dreams because that’s what friends do–selflessly support one another’s dreams.

Despite the inundation of recognizable brands and incessant, obnoxious Disney product placement, Ralph Breaks the Internet is an entertaining animated movie that finds a way through the underwhelming plot and constant reminders that we are in a visualized world of the internet into our hearts to brighten our holiday weekend.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“Creed II” Full Film Review

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A truly heavyweight champion of cinema! Adonis Creed will hit you right in the feels. This brilliant installment in the Rocky/Creed franchise is an exemplary example of the power of cinematic storytelling. Creed II is a knockout! Sylvester Stallone and Michael B. Jordan’s respective performances are outstanding and Steven Caple’s direction is superb. Like with the original Rocky, this is not a film about boxing, it’s not about winning, it’s about going the distance supported by the inner drive to settle old scores, redemption, grief, loneliness, and the relationship between fathers and sons. Furthermore, it calls into question the reasons why we do what we do–the real reasons. So often we try to convince ourselves that we are determined to execute a plan for reasons other than the real ones, because the real reasons are too painful. The Rocky movies could so easily be about the sport of boxing, training, and winning; but they consistently include impactful, relatable, gritty themes that resonate with the audience. Whether you are familiar with boxing or not, this film will hit you with its powerful subtext and messages of redemption that we can all identify with. Whereas the original Creed did not feel highly connected to the Rocky cinematic universe, Creed II reminds us of the connection at every punch, block, and jab. The film also offers social commentary on the fickleness of glory and just how temporary and fleeting it can be. Sylvester Stallone and Cheo Hordari Coker’s screenplay follows the Rocky Way of doing things, much in the same way that Marvel has the well-known manner that Marvel stories are told. Even if you have not seen the Rocky movies or Creed, you will be moved and entertained by this film. Suspenseful, tense, and even comedic at times, Creed II is one to look for when Best Picture nominees are announced.

Recently crowned the heavyweight champion of the world, Adonis Creed (Michael B. Jordan) does the thing that makes him more nervous than the most intense fights–proposes to his girlfriend Bianca (Tessa Thompson). Encouraged by his coach, the former world champion Rocky Balboa (Sylvester Stallone), Adonis takes the leap and asks the love of his live to marry him. And upon a visit to his mother Mary Anne (Phylicia Rashad), Adonis and Bianca find out that they are pregnant. The family time and celebration are short-lived when the son of Ivan Drago challenges Adonis’ title to the fight of the century–the Creed/Drago rematch fight that the world is waiting for. Saddled with a new engagement and the pregnancy of his fiancee, Adonis must decide if he’s willing to risk his life to settle an old score because he knows what it’s like to grow up without a dad. Soon, this date with destiny becomes an obsession that invades Adonis’ every thought and action. Against the wishes of his mom, fiancee, and Rocky, Adonis accepts the challenge from Drago’s son who Rocky describes as a monster because he has nothing to lose, whereas Adonis has everything to lose.

For fans of the Rocky franchise, this is the sequel that you have been waiting for in the Rocky cinematic universe. I liken this sequel to the recent Halloween because it feels connected in every way to the original but provides us a new story within a familiar world told through gripping characters and conflict. Beneath the surface of this high-concept plot, beats the heart of a low-concept family drama that hooks you with its relatability and intense moments that consistently keeps you drawn into the story. Creed II has many heavy moments, and could have felt overwhelming if it wasn’t for the comedic relief provided by Sylvester Stallone’s legendary character of Rocky. There are certainly plenty of somber, heartwarming, and emotionally poignant moments, but Rocky injects a little lightheartedness when it is needed to keep the emotional roller coaster going. The themes of this film are dramatized and paralleled by the training and boxing matches. Heavyweight characters paralleling heavyweight themes. Adonis’ external goal is not to win; it’s to go the distance with Viktor Drago to prove that he is a champion in and outside of the rink and therefore worthy to be a father. But what drives Adonis and Ivan Drago’s son is their need to uphold a legacy–legacies of sons haunted by their fathers. Further subtext of the film suggests that both of fighters are seeking redemption in order to fill a hole in the heart left by varying degrees of loneliness and grief over loss of relationships. In addition to the goals of Adonis, Rocky is also on a journey that is driven by his involvement in the life and training of Adonis. Rocky’s goal is to reunite with his son whom he estranged. Lots of father and son relationship internal needs in this story.

The performances are incredibly authentic. All the way around. Michael B. Jordan is well-known to be a charismatic actor who has a wide range that makes him someone whom is fun to watch on screen. He can communicate so many emotions through his face. Talk about commitment to character. I was completely sold on his character of Adonis both in and out of the rink. Displaying genuine emotion, I cared deeply about his successes and failures. In many ways, I think of him as a superhero in the vein of Captain America. Perhaps he does not have “superpowers,” but he is a hero to his family and to his community. I cared about what happened to him. Interestingly, even Viktor Drago will tug at your heartstrings because of the circumstances from which he comes. He truly is the definition of underdog. While we are rooting for Adonis to win, we cannot help but empathize with Viktor due to his somewhat warped relationship with his father and being abandoned by his mother and the community after his father lost to Rocky. Despite his evil outward appearance and behavior, Viktor is ultimately trying to prove himself to his father, estranged mother, and the Russian people that he is a champion and worthy of their adoration and love. Rocky represents the loneliness and solitude of boxing. Beyond that, he is also the compelling moral compass of Adonis and the “wise old man” teaching our central character how to truly be a winner in both is professional and personal life. In one of the lighter, yet equally heartwarming scenes of the film, Rocky is sitting by Adrian’s grave, talking to her about how he feels like a “chunk of yesterday” who cannot reconnect with their son (and later we learn, grandson). Rocky, Adonis, and Viktor all have ghosts of their pasts that they are battling much like the fights in the rink.

The film is not without its strong female characters as well. In fact, we have two amazing women who provide so much substance to the story. Humanizing Adonis is his fiancee Bianca. Moreover, her role in this film can be likened to the one once filled by Rock’s Adrian. Her performance is excellent, and she steels a few of the scenes. Thompson delivers the same grit, gumption, and emotionally powerful performance that she gave in the original Creed. Thompson’s Bianca acts as the complement to Rocky’s moral compass. She and Rocky represent two different sides of Adonis that need coaching. Adding to the emotional baggage in Adonis and Bianca’s home, Bianca continues to lose her ability to hear and wonders if their new baby will suffer from the same physiological condition. She is a phenomenally strong character who refuses to let her encroaching hearing loss to affect her quality of life. The audience was extremely delighted–audibly so–when Phylicia Rashad appeared on the screen for the first time as Adonis’ mother. Her character never backs down to her son and the deathwish he has. Deathwish in that Ivan killed his father before he was born, leaving Mary Anne a widow and mother. So, death is a real possibility in this fight of the century. She is strong in principle and convictions, and stands up to what she feels is a poor decision. However, when Adonis makes the decision to fight Viktor, his mother is supportive as a mother is even when she disagrees or fears for her son’s life and now a negative outcome from the fight will effect his fiancee and newborn daughter. Her performance is exemplary; there are times that she steels the scene from Adonis. Mary Anne and Bianca deliver moments to the audience that remind us that this film is full of heart and there are moments worth audibly cheering for. Cheering is something that you will likely hear in the auditorium. The energy level was as high as it is likely at a real boxing match.

It’s not about a fight, the film is about what the fight represents in the lives of those affected by it. Beneath the fighting platform and behind the gloves are relatable conflicts and emotional burdens that serve as a foundation upon which the drama is build and plot is driven forward. On the surface, the plot may seem like something that has been done before, and to some extent, there is a lot of Rocky and Rocky IV in this film; but, this plot contains so much depth of character that truly allows the heroes journey to shine. Not all superheroes wear capes. If it was up to Edna Mode, none of them would. Triumphs, failures, and personal and interpersonal growth are experienced by Adonis and Rocky. While so many sequels fall victim to sequelitis, Creed II meets and exceeds expectations! It’s a compelling story that till have you hooked from bell to bell.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“Overlord” full movie review

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Surprisingly deep! The best kind of bait and switch is when you go in with moderately low expectations and get blown away by how incredibly well an experimental film dances the line between two genres and provides us with rich writing and excellent direction. At the end of the day, it is still a glorified B-movie, but it’s a B-movie that has so many A-list qualities about it. Often when the term experimental is attributed to a film or movie, it is usually because of a particular stylistic choice by the director; however, I chose that description for this movie because it blends the war (WWII) genre with horror and action to create a movie experience that is incredibly thrilling and creepy. Not for the weak stomached, this movie contains quite a lot of war and horror violence, but the gore and violence are never the focus but used to enhance the visceral experience of the movie. The focus of the movie is on the mission of the American soldiers to take out a signaling tower for the Nazi forces, and we never forget that. For all the complexities of the film, the plot is superbly simple and the main characters moderately complex. If there is one singular fault of the movie, it is that the character of opposition (Wafner) is not as interesting as our central character of Boyce. Supporting the lead cast are fantastic side characters who are mostly there for some comedic relief. While the horrors of Nazi medical experimentation led by the sadistic Josef Mengele are still stomach-churning to this day, the end of this movie contains a brilliant payoff that takes what the Nazis may have been doing right before D-Day, and turns it against them. The Nazi’s are defeated by a member of a group that would have been on their extermination list. If you’re thinking that this is going to be another Dead Snow, you would be wrong. Takes what Dead Snow did well and combines it with the best of WWII movies to deliver an exhilarating movie!

Hours before the real life D-Day, a small group of American soldiers survive a airborne battle above France, and must work together, through their differences, to destroy a signaling tower in village near Normandy in order to allow the Allied forces to storm that infamous beach to deliver France from the clutches of Nazi occupation. The US soldiers soon realize that there is more going on than an oppressive Nazi occupation in the village. As the soldiers inch their way toward the former church, now a Nazi camp, they discover that the evil Nazi medical experimentation goes way beyond unethical and even immoral to downright sadistic. In an effort to solidify the Third Reich’s rein over the world, they have developed a serum to make super soldiers that has some horrific side effects. The allied forces must face not only the Nazi forces but the undead as well.

Why does this movie work as well as it does? Easy. The screenplay by Billy Ray and Mark L. Smith and direction by Julius Avery. Ray is known for Captain Philips and The Hunger Games, Smith for The Revenant. Avery is still relatively new to directing feature films, but demonstrates a strong ability to work with a blended genre that provides audiences with an exciting big screen time. With Avery still earning his chops for feature films, the fantastic screenwriting and story serve as a solid foundation upon which the other elements are built. At first glance, this movie seems like one that would essentially one that is just schlocky fun, or perhaps one that tries to take itself seriously but fails miserably in a way that makes it painful to watch, and ultimately forgettable. But to great surprise, the movie not only delivers a thrilling WWII horror movie but one that is produced with dimension, depth, and visual precision. Although not writing or directing, J.J. Abrams penchant for incredible visuals and heart-pumping action is seen throughout the movie.

Before discussing the performances and visuals of the film, I want to focus more on why this film is much deeper than it first appears. On the surface, it is a WWII action horror movie but beneath the surface, the screenwriters confront the audience with concepts and questions that are creatively woven into the high concept plot. Chief among these is found in our central character of Boyce. He’s a young black male fighting alongside these hard-hearted soldiers. While his counterparts are mostly jaded, he maintains a morally sound world view amidst the harsh realities of war. The fact that the film depicts a young black male as the hero during a time in our country that was about to experience great civil rights unrest, is a testament to the creative and effective approach to this story. He plays the role that is often given to a white actor, but I immensely enjoyed the charisma and talent he brought to this role that shows a progressive film. Regarding the rest of the American soldiers, each soldier represents a different kind of character, providing audiences one with whom they may be able to identify.

In addition to the fantastic casting choice in Boyce (Jovan Adepo), the screenwriters also confront the audience with the question of what truly separates us from our enemies when the only means to defeat them is stooping to their level. Including a message such as this one allows us to use the situation as an allegory in our present culture that is growing increasingly divided, and hate seems to abound. Where do you draw the line in the course of war or a philosophical battle? Ostensibly giving the middle finger to the damsel in distress, this film delivers an independent badass heroine in Chloe (Mathilde Ollivier). Such a strong female character in this movie, Chloe refuses to stay in her home and allow the American soldiers to fight for her. And she is so strong that even the most masculine of the soldiers accepts her tenacity and unbreakable spirit. Fortunately, the movie does not turn her into a love interest for the American soldiers. Many of the solders find her attractive, but she is never objectified by the Americans; however, she is objectified by the despicable Nazis. But fortunately for her, the infatuation the Wafner has with her, eventually brings about his demise.

Overlord delivers it’s visual tension brilliantly. And this is in party to the high degree of visual storytelling in this movie. The action sequences and special effects are extremely well produced. Avery’s movie rises above what we generally expect out of high concept action/horror movies to provide audiences with gritty, gnarly special effects and makeup effects. There is a realness to the atrocities of war felt in this movie that can be greatly appreciated. That realness is achieved by a large percentage of practical effects supplemented with digital effects. As I have pointed out before, relying upon mostly CGI robs the audience and the actors of authenticity. CGI cannot completely replicate the way real light bounces off real objects and into the camera. That sound mix, tho! If anything assaults your senses as much, if not more than the gruesome visuals, it is the ridiculous good sound design and mix. Definitely watch this film in IMAX or Dolby Digital (or the equivalent) if it is available in your area.

If you are seeking a horroresque gritty action movie, then this is one that you do not want to miss. It’s got everything you want from a movie that dances the line between horror and action. I cannot think of another horror action movie that does this as well with the exception of James Cameron’s Aliens (though, that one leans more towards action than horror).

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“Bohemian Rhapsody” full film review

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Ready Freddie? Adapted from the Queen Wikipedia article, comes the anticipated tribute film Bohemian Rhapsody. Mostly directed by Bryan Singer, but after his unexpected departure, directed by Dexter Fletcher, this could be one of the first films to almost not be a film at all, yet produce an Oscar-worthy performance in Malek’s Freddie. It’s a good thing that your favorite Queen songs are sort of in the movie because the screenplay is off key. In short, the problem with this biographical film can be traced back to the weak writing and misguided direction. Anytime a film has to change directors in the middle of production (for whatever the reason), the film has a high chance of suffering in the transfer of power. There are exceptions; for instance, Poltergeist was directed by Tobe Hooper and Spielberg, and became one of the best horror films of all time. On the topic of writing, paraphrasing Hitchcock, a writer (or director) should start the scene as close to the end of the scene as possible in order to streamline the plot and keep the focus on conflict moving the scene forward. Unfortunately, this movie starts each scene as close to the beginning of the scene as possible and cuts it off just before the ending. Whereas the camera lingered in A Star is Born in order to allow the emotion of the scene to sink in, this camera lacks focus and moves around the scene in a way to document what is doing on, not show us the story and subtext. Speaking of subtext, Bohemian Rhapsody is very much a textbook example of “on the nose” storytelling. There is a great lack of subtext anywhere in the film.

A celebration of the timeless music of Queen, this film chronicles the band’s beginnings to the famous Live Aid concert. Following the band from playing in bars to headlining sellout concerts at world-famous venues, this film takes you behind the scenes to watch the development of the band and–also–spending some time with Freddie’s personal life. Witness Freddie Mercury defy what his family wanted for him and what popular culture defined as a lead singer, and become the icon that he is.

Although the film is lacking in almost every area of storytelling, there is one standout element that cannot be ignored, despite the poor writing and direction. And that is Rami Malek’s performance as Freddie Mercury. Now, I am not a huge Queen fan; yes, I know the same handful of Queen songs that most people know and really enjoy listening and rocking out to them. But, I do not know enough about Freddie in order to know how close Malek’s performance was to capturing the real man. Mainly because I was a really young when he passed away. However, even not knowing much about the real Freddie, I can still assess a great performance, and Malek’s impressed me from start to finish. I thoroughly enjoyed watching him! The commitment to his character is incredible. Not only does he resemble Freddie, but at no point did I ever feel that I was watching an actor play Freddie, but it was like watching Freddie himself (what I know about Freddie, anyway). It will be interesting to watch to see whether or not he gets an Actor in a Leading Role nomination even though the rest of the film will not likely show up on the Academy’s radar. Perhaps the film would have been better if it had been a Freddie Mercury biopic instead of covering the band as a whole. But due to Queen having so much control over the story, the focus consistently shifts from Freddie to the band so that there is no true direction for the conflict to go in order to deliver a powerhouse of a film.

The storytelling is so incredibly disconnected that there are moments that do not feel like a movie at all. Other than the recreation of the Live Aid performance (with a crowds of bad CGI and real shots of the same group of spectators over and over), the best scenes in the film are during the intimate moments between Freddie and Mary. These are the only times that I feel that the film is diving deep, and attempting to evoke emotional responses from the audience. Even during some of the moments that should have been the most gut-wrenching and impactful such as Freddie’s coming out or when he finds out that he has AIDS, just play off as surface-level; they fall flat. Never once does this film dive deep into anything. As soon as the story is about to hit a home-run, it bunts the ball. Fasts-forward to first base, if you will. I am also shocked at the lack of music in this movie. With the title being Bohemian Rhapsody and being about Queen, I half expected that moments would feel like a rock concert. By no means, did I want to watch a 2hr music video or vicariously attend a concert, but I had hoped that the music would have been a bigger part of the story. And the title song is not a significant part of the movie. Honestly, a more precise title would have sinply been Queen. Bohemian Rhapsody is never completely performed in its entirety.

If you don’t like to read Wikipedia articles, but want to learn the same information, then checkout Bohemian Rhapsody this weekend. Or if you are a fan of the entire band–not just Freddie–then this movie is for you. Although you get very few songs performed in their entirety, you will hear Under Pressure, We Will Rock You, We Are the Champions, and others.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“Mamma Mia! Here We Go Again” movie musical review

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You won’t be able to resist the singing and laughter! A major summer box office win for Universal Pictures! Ten years ago, I loved Mamma Mia! and now I equally enjoyed the sequel that seemingly came out of nowhere. I danced, I jived, I had the time of my life, and you will too! The entire original cast is back, and not only them, but select supporting and atmospheric characters as well. Mostly filled with new additions to the Mamma Mia! musical soundtrack, you still get the crowd favorites, those showstopping numbers Dancing Queen, Super Trouper, and of course Mamma Mia. Selections from other songs from the original motion picture (and ABBA Gold album) also make appearances. In our world that seems to be filled with so much negativity, hate, and sadness, a movie like this is needed to lift the human spirit, let go of all your cares, and give yourself over to the timeless music of ABBA and the hilarious antics of Mamma Mia: Here We Go Again. Just like I will be the first to tell you that if you’re searching for the most fun show on Broadway, to select Mamma Mia!, the same rings true for the sequel to the original adaptation. It is so much fun! It might be kitschy fun, but immensely entertaining and very well produced. While some movies and movie musicals comment on society or deal with hard topics, this is a refreshing film that reminds us that it is okay to attend the cinema for no holds barred fun in order to uplift the human spirit.

It’s been ten years since Sophie (Amanda Seyfried) threw her wedding to find her dad, and she is working diligently to remodel and reopen her mother’s hotel. Sadly, Donna (Meryl Streep) has passed away and left the responsibility of running the hotel to her daughter. In order to do her mom proud, Sophie is putting the finishing touches on the grand opening party when she receives some troubling news and a storm wreaks havoc on the hotel. Channeling inspiration from her mother, Sophie reflects on all the stories her mother told her about how she met her dads and came to the island. We get to spend a significant amount of time with young Donna (Lily James) as she makes her way in this world. From graduation to making a home out of the farmhouse and falling for Harry, Bill, and Sam along the way. Sophie learn how her life parallels her mom’s in so many ways. Reuniting with Rosie (Julie Walters) and Tanya (Christine Baranski), she moves forward with determination to see her mother’s dream all the way through. Just when she’s had enough surprises in her life, Sophie finally comes face to face with her estranged grandmother Ruby (Cher).

There is beauty in simplicity. Mamma Mia: Here We Go Again delivers an amazingly fun movie musical built upon a simple plot with iconic songs. It’s a juke box musical. While it may lack the depth, introspect, or critical value of other movie musicals, it possess a power to make an emotional connection that doesn’t hit you hard or seek to change your worldview on an issue, but instead uses the power of song and dance to make you smile. Genuinely smile. The kind of infectious smile and laughter that fills the auditorium at the movie theatre. Sometimes filmmakers are so concerned with upholding the art of cinema, packing in powerful messages, or visualizing deep themes that the desire to entertain for fun gets forgotten. Not only is this the most fun at the movies you will have this summer, but it’s a movie that is solidly produced. It has a command cast featuring performances by Meryl Street and Cher and a lovable cast of familiar and new characters. Whereas the original movie relies mostly on top tier ABBA songs that are generally known to fans and public, this movie employs mostly second and third tier ABBA songs. Fortunately, these lesser known songs will soon find their way into karaoke libraries and mix tape play lists on Spotify and AmazonMusic.

Do yourself a favor and head to the movies this weekend to smile, laugh, and sing along with Mamma Mia: Here We go Again! I enjoyed it so much, that I could definitely watch it again myself. But tomorrow night I need to watch Universal Pictures’ other release this week Unfriended: Dark Web (coincidentally, another sequel that came out of nowhere).